Pages

Friday, April 13, 2007

Saint Augustine


The Baptism of St Augustine in the Arca di Sant' Agostino in the Cathedral of San Pietro in Ciel d'Oro, Pavia

In The Simpsons, Homer is accidentally baptised by Ned Flanders. When Bart asks how Homer feels, he replies: "Oh, Bartholemew, I feel like St. Augustine of Hippo after his conversion by Ambrose of Milan."

Unlike Homer Simpson, the baptism of St Augustine and those who were baptised recently in the Easter Vigil ceremonies were not accidents but the result of free acts of the will.

The baptism by St Ambrose of St Augustine in Milan at the Easter Vigil in 387 was one of the most significant events in the history of the early Church. It was for him an occasion of great joy, the culmination of years of struggle.

While still at Carthage, he had begun to move away from Manichaeism. In Milan, prompted in part by Ambrose's sermons, and partly by his own studies, and the efforts of his mother, St Monica, Augustine renounced Manichaeism. Augustine was always driven by the pursuit of the truth.

In the summer of 386, after having read an account of the life of Saint Anthony of the Desert which greatly inspired him, Augustine underwent a profound personal crisis and decided to convert to Christianity. He abandoned his career, give up any ideas of marriage, and determined to devote himself entirely to serving God.

Key to this conversion was the voice of an unseen child he heard while in his garden in Milan telling him in a sing-song voice to "tolle lege" ("take up and read") the Bible, at which point he opened the Bible at random and fell upon the Epistle to the Romans 13:13, which reads:

"Let us walk honestly, as in the day; not in rioting and drunkenness, not in chambering and wantonness, not in strife and envying".

In the Confessions, St Augustine writes of his conversion and subsequent baptism. He was baptised along with his son, Adeodatus, and his friend, Alypius:

"14. When the time arrived for me to give in my name, we left the country and returned to Milan. Alypius also resolved to be born again in thee at the same time. He was already clothed with the humility that befits thy sacraments, and was so brave a tamer of his body that he would walk the frozen Italian soil with his naked feet, which called for unusual fortitude. We took with us the boy Adeodatus, my son after the flesh, the offspring of my sin. Thou hadst made of him a noble lad. He was barely fifteen years old, but his intelligence excelled that of many grave and learned men.

I confess to thee thy gifts, O Lord my God, creator of all, who hast power to reform our deformities--for there was nothing of me in that boy but the sin. For it was thou who didst inspire us to foster him in thy discipline, and none other--thy gifts I confess to thee. ...

And so we were baptised and the anxiety about our past life left us. Nor did I ever have enough in those days of the wondrous sweetness of meditating on the depth of thy counsels concerning the salvation of the human race. How freely did I weep in thy hymns and canticles; how deeply was I moved by the voices of thy sweet-speaking Church! The voices flowed into my ears; and the truth was poured forth into my heart, where the tide of my devotion overflowed, and my tears ran down, and I was happy in all these things.

15. The church of Milan had only recently begun to employ this mode of consolation and exaltation with all the brethren singing together with great earnestness of voice and heart....

This was the time that the custom began, after the manner of the Eastern Church, that hymns and psalms should be sung, so that the people would not be worn out with the tedium of lamentation. This custom, retained from then till now, has been imitated by many, indeed, by almost all thy congregations throughout the rest of the world.

Thanks to thee, O my God. Whence and whither hast thou led my memory, that I should confess such things as these to thee--for great as they were, I had forgetfully passed them over? And yet at that time, when the sweet savour of thy ointment was so fragrant, I did not run after thee.(1) Therefore, I wept more bitterly as I listened to thy hymns, having so long panted after thee. And now at length I could breathe as much as the space allows in this our straw house(2)."

(St Augustine: Confessions, Book 9, Chapters 6 and 7)

(1) Cf. S. of Sol. 1:3, 4.
(2) Cf. Isa. 40:6; 1 Peter 1:24: "All flesh is grass."


This month Pope Benedict XVI will be visiting Pavia where the relics of St Augustine are housed in the Arca di Sant' Agostino in the Cathedral of San Pietro in Ciel d'Oro (St Peter in the Golden Sky).

The Arca dates back to 1362. It was made by a follower of the sculptor Giovanni di Balduccio (1275 - 1379). The sculptors and artists were from Campione. The Arca is decorated by some 150 statues and reliefs.

If it looks familiar, then it is due to the influence of the tomb made for a saint, Saint Dominic Guzmýn, founder of the Order of Preachers. That tomb was designed by Nicola Pisano in 1264 and built in San Domenico, Bologna, in 1267.

As can be seen from the addresses and speeches of Pope Benedict, references to St Augustine abound. His doctoral thesis was on St Augustine. There is hardly a speech without at least one reference to the Saint. The address of the Pope before the Arca will be to say the least "interesting".




The Arca di Sant' Agostino in the Cathedral of San Pietro in Ciel d'Oro, Pavia


The Arca di Sant' Agostino in the Cathedral of San Pietro in Ciel d'Oro, Pavia


The Arca di Sant' Agostino in the Cathedral of San Pietro in Ciel d'Oro, Pavia (detail)


The Arca di Sant' Agostino in the Cathedral of San Pietro in Ciel d'Oro, Pavia (detail)



References:

Basilica di San Pietro in Ciel d'Oro Tomba di Sant'Agostino
http://www.santagostinopavia.it/cieldoro/arca/default.asp?pag=arca/page_06.htm
http://www.santagostinopavia.it/cieldoro/default.asp

BENEDICT XVI
ANGELUS,Castel Gandolfo, Sunday, 27 August 2006
http://www.vatican.va/holy_father/benedict_xvi/angelus/2006/documents/hf_ben-xvi_ang_20060827_en.html

POPE JOHN PAUL II APOSTOLIC LETTER: AUGUSTINUM HIPPONSENSEM
ON THE OCCASION OF THE 16TH CENTENARY OF THE CONVERSION OF ST. AUGUSTINE,
August 28, 1986
http://www.vatican.va/holy_father/john_paul_ii/apost_letters/documents/hf_jp-ii_apl_26081986_augustinum-hipponensem_en.html

The Big Eight-O



The Holy Father Benedict XVI celebrates his 80th birthday on April 16, 2007.

The Official Vatican website has a special microsite: HERE for anyone who wishes to send an e-mail to him with birthday greetings.

Cheaper than a snail-mail card and guaranteed delivery !

Thursday, April 12, 2007

Easter Celebration - Holy Sepulchre

The celebration of Easter at the Church of the Holy Sepulchre in Jerusalem.

It shows the symbolic unsealing of the tomb
The chant seems to be "Jesus Christ is the True God."

HOLY FIRE 2007

This Easter at the Holy Sepulchre, Jerusalem. The Ceremony of the Holy Fire.

Church and State in France

There has been recent signs of a trend towards increasing secularisation in the United Kingdom.

Some people point to France as an example of the type of secularisation which they would wish to see in the United Kingdom.

The present Church-State settlement in France has its origins in the anti-clericalism of the late nineteenth century and early twentieth century.

The French position of laïcité is not like the separation of church and state as guaranteed by the First Amendment in the United States, which is buttressed by a guarantee of freedom of religion also written into the First Amendment.

But there are signs that in France, as in other parts of Europe, there may be a trend away from secularisation and a trend towards the encouragement of religious thought and ethos in the public sphere.

In June 2005, 30 Days published an interview with the French cardinal Jean-Louis Tauran. At the time he was the Archivist and Librarian of Holy Roman Church.

In the interview the Cardinal discussed the constitutional law of December 1905 which set the relations between Church and State in France on a radically new footing, and the immediate aftermath of the law which caused such great damage to the Catholic Church in France.

He also discusses the late President Mitterand and his attitude towards the Catholic Church, as well as the present candidate of the Right in the forthcoming Presidential Election, Nicolas Sarkozy who wrote a book entitled La République, les religions, l’espérance.

From the interview:

"Let’s go back to the 1905 law. Is it possible that it be revised, not least in the light of the increasing number of Muslim believers in France? Minister Nicolas Sarkozy thinks the possibility exists. And says so in his latest book La République, les religions, l’espérance.

TAURAN: I haven’t been living in France for many years, however it would seem to me strange that a hundred-year-old law might be so perfect as not to require alteration. However, both Sarkozy and the Catholic bishops have warned of the danger of reopening a debate on relations between State and Church that could give rise to a recrudescence of secularism and anticlericalism. So many say: leave the law as it is and complement it in the light of the jurisprudence of the past century. I believe that is the solution preferred by the majority of the bishops. What has to be avoided is a fundamentalist interpretation of the law, given that luckily it has never been that way.

A question about Sarkozy’s book, since Le Figaro has reported a visit he made to the Vatican to present it to Secretary of State Cardinal Sodano Angelo, to Archbishop Giovanni Lajolo and to yourself…

TAURAN: Yes, the minister gave us a copy of his book. on the occasion. Mine had the written dedication: «Votre ami tout simplement». What I liked about the book is that it is written by a government minister who is not afraid of speaking of religion, stating that Christians must not be ashamed of their faith and must have no inferiority complex about it. Interesting then is the definition of secularism given in the book: «I believe in a positive secularism, in a secularism that guarantees the right to live according to one’s own religion as a fundamental right of the person. Secularism is not hostile to religions, on the contrary secularism is the guarantee for each of us to believe and live according to his own faith».
"

For more about Sarkozy`s view of Church and State in France, see
In a Very Secular France, Nicolas Sarkozy Is Breaking a Taboo by Sandro Magister (May 11, 2006 ) at http://chiesa.espresso.repubblica.it/dettaglio.jsp?id=55661&eng=y

In the article by Sandro Magister, there is a review of Sweden, Germany, and France – the most secularized areas of Europe – where there would seem to be signs of “a reversal of this tendency, with growing interest in religious matters.”

He also publishes a review of Sarkozy`s book which appeared in "Avvenire” – the newspaper of the Italian bishops’ conference then headed by Cardinal Ruini – on May 3, 2006. The review was entitled Even the République Needs Religion and was by Carlo Cardia. In the review Cardia said:

"But in spite of the fact that the reader is prepared for important new ideas, the surprise is no less when he reads the book’s proposals for modifying the norms of 1905.

These norms, Sarkozy says, are not “as if they had been carved in marble and were impossible to modify.” And he identifies as the main objective of reform “a question that is neither pivotal nor frivolous: that of the financing of the major religions in France.”

Yes, this is the strategic proposal. France must confront the issue of financing for the Churches: “Let us admit without hypocrisy that there is a contradiction between the desire to acknowledge the religions as a positive factor in society and completely denying them any form of public financing.


According to Sarkozy, there is an insurmountable difficulty for those who “think it is natural for the state to finance a soccer field, a library, a theatre, a childcare center; but whenever it is a matter of the needs of a place of worship, the state should not spend so much as a penny.”

The passage from general principle to concrete application does not diminish the surprise of Sarkozy’s proposal, because his recommendations concern the construction of places of worship, the “most appropriate fiscal accommodations for the faithful who participate in offerings for the maintenance of the clergy,” and even financial aid for the formation of the clergy, including “making available instructors on non-spiritual subjects, allowing the use of public property, and signing conventions with religious representatives for the education of French ministers of worship.”



References:

Wikipedia:

1905 French law on the separation of Church and State
http://en.wikipedia.org/wiki/1905_French_law_on_the_separation_of_Church_and_State

French law on secularity and conspicuous religious symbols in schools
http://en.wikipedia.org/wiki/French_law_on_secularity_and_conspicuous_religious_symbols_in_schools

Roman Catholicism in France
http://en.wikipedia.org/wiki/Catholic_Church_in_France

Laïcité
http://en.wikipedia.org/wiki/Laicit%C3%A9

Religious Liberty: The legal framework in selected OSCE countries.. Law Library, U.S. Library of Congress (May 2000). (.pdf file)
http://italy.usembassy.gov/pdf/other/rellib1.pdf

Wednesday, April 11, 2007

The Pope’s letter to Chinese Catholics



W D T P R S has a lengthy article on the Letter the Holy Father promised to Chinese Catholics .

He provides a detailed summary of what Joseph Card. Zen of Hong Kong, says about the forthcoming letter.

" Card. Zen predicts there were be backlashes from the government. In his open comments about the upcoming letter, the Cardinal is clearly doing some damage control, on the one hand, but also preparing the ground for a good reception."

Cardinal Zen said:

"If readers, inside and outside China, accept the suggestions of the article, they will expect the Holy Father to emphasise with friendship rather than truth and diplomatic relations rather than real normalisation and real religious freedom.

People with such expectations, I believe, will be disappointed when the letter does come out. ...

We must believe that the only purpose of the Holy Father in writing such a letter is the real normalisation of the religious situation, so that the millions of Chinese Catholic faithful can live their lives of faith happily and bear abundant fruit. Let us be united in prayer and action behind this unique purpose for which we must stand up. Let us join the majority, or the almost totality of the faithful on mainland China, who are ready to accept, without reservation, the directives contained in the Holy Father’s letter."

St Gemma Galgani


St Gemma Galgani


Passionist Convent in Lucca where the saint`s remains lie


Tomb of St Gemma Galgani

St Gemma Galgani was only 25 years old when she died on 11th April 1903. 11th April is her feast day.

She was always plagued with ill health: tuberculosis and meningitis being two of her maladies.

Born near Lucca, she spent her whole life in the area and is buried in the Passionist Sanctuary in the city of Lucca (outside the old city walls).

Orphaned early on, responsibility for bringing up her siblings devolved on her.

She had wanted to be a Passionist nun, but ill health and her responsibilities put paid to this.

Still, she devoted her life to prayer. She had the marks of the stigmata.

A mystic who had visions, who made many sacrifices and had a deep prayer life despite ill health and other misfortunes.

She was beatified in 1933 and canonised on May 2, 1940, only thirty-seven years after her death.


References:

Catholic Online: St. Gemma Galgani
http://www.catholic.org/saints/saint.php?saint_id=225

Official website (Italian)
http://www.santagemma.org/

Italian site: Santuario Santa Gemma
http://www.santagemma.it/

Santa Gemma (Italian site)
http://web.quipo.it/santagemma/

Sanctuary in Spain
http://www.santagemabcn.org/web/index.html

EWTN
http://www.ewtn.com/library/MARY/GALGANI.htm

St Gemma Galgani from The Story of the Passionists
http://www.passionist.org/gpih/gemma_galgani.html

Mystical or hysterical? - The Voices of Gemma Galgani: The Life and Afterlife of a Modern Saint, by Rudolph M. Bell and Christina Mazzoni - book review
http://www.findarticles.com/p/articles/mi_m1058/is_10_120/ai_102140732

Tuesday, April 10, 2007

PASCHA-the Sunday of the Resurrection-Hymns (second part)

Orthodox hymns - Part Two

PASCHA-the Sunday of the Resurrection-Hymns

Orthodox hymns
Ελληνικο Πασχα

Fiorenza Cossotto - Cavalleria Rusticana - Inneggiamo

Fiorenza Cossotto sings the Easter Hymn from Mascagni's Cavalleria Rusticana.

Tokyo, 1976.

Which explains the Japanese subtitles !

The Incredulity of Saint Thomas


CARAVAGGIO (b. 1571, Caravaggio, d. 1610, Porto Ercole)
The Incredulity of Saint Thomas 1601-02
Oil on canvas, 107 x 146 cm
Sanssouci, Potsdam



Hendrick Jansz ter Brugghen, or Terbrugghen, (1588 - Nov 1, 1629)
Doubting Thomas ca. 1621-1623
Oil on panel, 109 cm x 136.5 cm
Rijksmuseum, Amsterdam


The apostle Thomas, also called St. Thomas, Judas Thomas or Didymus was a twin.

He appears in a few passages in the Gospel of John.

When Lazarus has just died, the disciples are resisting Jesus' decision to return to Judea. Jesus is determined, but Thomas has the last word: "Let us also go, that we might die with him" .

At The Last Supper Jesus assures his disciples that they know where he is going, but Thomas protests that they don't know at all.

He doubts the resurrection of Jesus and demands to feel Jesus' wounds before being convinced. After seeing Jesus alive Thomas professed his faith in Jesus.

It is this last scene which is painted by Caravaggio and one of his followers, Hendrick Jansz ter Brugghen, or Terbrugghen. Hendrick Jansz ter Brugghen, or Terbrugghen, (1588 - Nov 1, 1629) was a Dutch painter, and a leading member of the Dutch followers of Caravaggio – the so-called Dutch Caravaggisti.

Monday, April 09, 2007

Apostles Creed

Stained glass of the Apostles in St Mary the Virgin, Drayton Beauchamp


Stained glass of the Apostles in St Mary the Virgin, Drayton Beauchamp


Detail


Detail


The name of the Apostles Creed comes from the fact that, being composed of twelve articles, it was reputed to be written by the Twelve Apostles. Each of the Apostles was supposed to have contributed an article under the inspiration of the Holy Spirit after Pentecost.

St Mary the Virgin is the Parish Church of the small village of Drayton Beauchamp, Buckinghamshire. The present church dates from the 15th century.

The east window, with ten of the Apostles in beautiful stained glass of the 15th century, is greatly prized. Each Apostle carries his emblem and over each is a portion of the Apostles' Creed in Latin.

Such depictions of the Apostles were common in fifteenth century English churches: in windows; dados of wood screens; alabaster altar pieces; fronts of cathedrals.

They were an important device in catechesis.

Sunday, April 08, 2007

Resurrexit



UNKNOWN MASTER, Bulgarian
The Resurrection of Christ 1675-1700
Tempera on linen and wood, 24 x 18 cm
Pinacoteca, Vatican


This year the Eastern Orthodox date for Easter falls on the same date as that calculated for the West.

In the Easter troparion of the Byzantine liturgy: "Christ is risen from the dead, by his death he has vanquished death, and to those who were in their tombs he has given life."

Christ is flanked by two groups of personages: they are the Just of the Old Covenant, prominent among whom are the figures of King David (with the crown), Moses, and Saint John the Baptist. In the persons of Adam and Eve, rising from their tombs, humanity is won and redeemed.

Seeing Salvation: The Image of Christ


CARAVAGGIO (b. 1571, Caravaggio, d. 1610, Porto Ercole)
Supper at Emmaus
1601-02
Oil on canvas, 139 x 195 cm
National Gallery, London




Seven years ago, The National Gallery in London put on an exhibition to commemorate the Millenium: Seeing Salvation: The Image of Christ.

It was the most visited art show in Britain that year, and the fourth most popular in the world. It beat heavily hyped contemporary shows such as the Turner Prize exhibition featuring Emin's soiled bed at the Tate; Apocalypse, the follow-up to Sensation at the Royal Academy, or the first exhibition at the new Tate Modern gallery.

Neil MacGregor, then National Gallery director, said that he had been astonished. Seeing Salvation boasted paintings of Christ through the ages by Mantegna, Titian, Bellini, Dali , Kathe Kollwitz, Stanley Spencer and Otto Dix and was the only major cultural extravaganza in Millennium year in Britain to focus on celebrating Christianity.

Unveiled just after Tate Modern opened, the exhibition even had difficulty finding a sponsor.

MacGregor attempted an explanation of why such an exhibition was relevant to modern times:

He described how the Protestant reformers, suspicious of the image, insisted on the word alone, whereas the Catholic tradition with its rich sacramental understanding had always defended representation.

'Theological concepts must be given human dimension and if only words can tackle abstract mysteries, paintings are uniquely able to address the universal questions through the intelligence of the heart'

There is a recognition that we come to understand not simply through rational thinking but also through a felt intelligence, that of the heart. Artistic images of theological ideas or scriptural stories perhaps should not be seen merely as illustrations, but as another way of ' seeing'.

Easter Sepulchres


Holy Trinity, Blythburgh: The tomb of the Hoptons (Easter sepulchre) in the Hopton chantry




Holy Trinity Church, Long Melford, interior, Clopton Chantry, John Clopton’s tomb seen from chancel




St Peter's, Westhampnett, The 16th Century tomb of the Sackvile family
The monument to Richard Sackvile consists of a niche tomb under a very depressed Tudor arch, the moulded front of which is a modern restoration. In the centre of the back is a representation of the Trinity. The Father, vested, supports the Son, naked save for a loincloth. The mutilation of the heads of these two figures has practically destroyed the Holy Ghost. West of this Richard Sackvile, in furred gown, kneels at a faldstool, with one son similarly dressed behind him; east of it his wife Elizabeth, in kennel head-dress, mantle, and kirtle, kneels at a similar faldstool, with one daughter similarly dressed behind her.


According to the Sarum rite, three Hosts were consecrated on Maundy Thursday.

One Host was then deposited, with the Cross, in the Easter Sepulchre. These were restored to the Altar on Good Friday when, after the Mass of the pre-sanctified, followed by Vespers, they were returned to the Easter Sepulchre, which was thereupon watched with lighted candles until Easter morning.

On that day, before Mass and before the ringing of the bells, the Host was carried back to the Altar. Then they took out the Cross of the Sepulchre and to the hymn of Christus resurgens, there was a procession to the Presbytery and the Cross was put once again in its usual place.

The Easter Sepulchre was generally only a wooden erection, which was placed in a recess or on a tomb. The arched recess was generally in the north wall of the chancel. Later, benefactors had tombs built in the north wall of the chancel to serve as holders of the Easter sepulchre. These tombs are often loosely referred to as "Easter sepulchres".

The ceremony of the Easter sepulchres was one of the central features of the English Church ceremonies at Easter. Professor Eamon Duffy, in The Stripping of the Altars: Traditional Religion in England 1400-1580 (1992), says at pages 22 and 31:

"Holy Week, the period from Palm Sunday to Easter Day, constituted the heart of the medieval church`s year, just as the Passion of Christ, solemnly commemorated there, lay at the heart of late medieval Christianity... Expressing to the full as it did the late medieval sense of the pathos of the Passion, the Sepulchre and its ceremonies were also the principal vehicle for the Easter proclamation of the Resurrection."

The Easter Sepulchre ceremony was abolished at the Reformation.

References:
The Ecclesiological Society: The Easter Sepulchre Ceremony in England
http://www.ecclsoc.org/eastersepul.html#ritesofdurham 
The Ecclesiological Society: The Easter Sepulchre Ceremony in Durham Abbey
http://www.ecclsoc.org/ritesofdurham.html 
Easter Sepulchres
http://www.papastronsay.com/ceremonies_2005_pg2.htm 
Some Nottinghamshire and Lincolnshire Easter Sepulchres (1)
By Ernest Woolley, F.S.A.
http://www.nottshistory.org.uk/articles/tts/tts1924/easter/sepulchre1.htm 
Churches in Sussex: Easter Sepulchres
http://www.sussexchurches.co.uk/easter_sepulchres.htm 
Heckington, Lincolnshire - St Andrew's Church 14th century
http://www.astoft.co.uk/heckington.htm

Suffering and Depression as Means for Growth

Me monk. Me meander refers to a Zenit.org interview with Catholic psychologist Dr. Ann Howe, director of Village of St. Joseph Counseling Services, Archdiocese of Atlanta, Georgia.

There is a discussion on the theme that many risk factors for depression can also be valuable assets for psychological and spiritual growth for the individual and the community.

Thursday, April 05, 2007

Posting

No more posts till after Easter.

A Happy Easter to one and all !

The Seven Sacraments in The Church of Saint-Séverin , Paris


Jean René Bazaine
The Eucharist
The Church of Saint-Séverin, Paris


The Church of Saint-Séverin (Eglise Saint-Séverin) is a small church in the Latin Quarter of Paris. It is located on the lively tourist street Rue St-Séverin. It is the oldest church that remains standing on the Left Bank. It continues in use as a place of worship.

Jean René Bazaine (21st December, 1904 - 4th March 2001) was a French painter, designer of stained glass windows, and writer.

In 1964-69, Bazaine made his best known stained glass work: a set of seven windows inspired by the sacraments of the Church in the ambulatory of the ancient church. They were executed by B. Alain.

Is the modern appropriate for ancient churches ? The question has always been hotly debated.

Georges Braque considered the question academic. In 1958, he said: "This respect for the past happens to be a very recent thing. All good things, no matter what their period, can be neighbours without danger."


References:

Images of the Bazaine windows
http://www.insecula.com/us/contact/A010161_oeuvre_1.html

Eglise Saint-Séverin
http://www.parisbestlodge.com/saintseverinEN.html

Paroisse Saint Séverin - Saint Nicolas
http://www.saint-severin.com/

The Chapelle du Saint-Marie du Rosaire in Vence, France


Exterior


At left: The Tree of Life, stained glass. At right: St. Dominic, ceramic tiles. 1950.


















Maquette for red chasuble (front) designed for the Chapel
Gouache on paper, cut-and-pasted, 133.4 x 198.4 cm
Museum of Modern Art, New York



Vestments as designed for the Chapel


Vestments as designed for the Chapel

The Chapelle du Saint-Marie du Rosaire (Chapel of Our Lady of the Rosary), often referred to as the Matisse Chapel or the Vence Chapel is a small chapel built for Dominican nuns. It was built in the small town of Vence on the French Riviera between 1949 and 1951 under an architectural plan proposed by Henri Matisse (December 31, 1869 – November 3, 1954).

Everything from the stained-glass windows to the priests robes were meticulously designed and made by Matisse for the Dominican nuns who nursed him back to health after a serious illness.

Henri Matisse devoted four years of his life to designing the Vence Chapel, his "crowning achievement," as he himself stated on several occasions.

Sister Jacques-Marie, the woman Matisse called “the true initiator of the chapel,” died in 2004, aged 84 years. At Sister Jacques-Marie’s funeral in the Vence chapel, which was attended by Matisse family members, her coffin was surrounded by masses of anemones, the artist’s favorite flower and the inspiration for the chapel’s candelabra.

Behind the altar is a large image of St. Dominic, founder of the Order of Dominicans and by tradition founder of the practice of the rosary.

On the side wall there are abstract images of flowers and an image of the Madonna and Child, all created in black outlines on the white tiles.

The motif for a "sapphire blue, emerald green and lemon yellow" window in Henri Matisse's Chapelle du Rosaire (Chapel of the Rosary) in Vence, France, was inspired by the "prickly pear fig,"


References:

LE CINQUENTENAIRE DE LA CHAPELLE DU ROSAIRE DE VENCE
http://www.musee-matisse-nice.org/expositions/chapelle_2001.html

Vence
www.vence.fr

Wednesday, April 04, 2007

The Church of Notre-Dame De Toute Grâce du Plateau d'Assy






Rouault.- Stained glass window of St Veronica at Assy


Richier.- Crucifix at Assy


Marc Chagall at Assy


Matisse at Assy


Kyjno. Crypt and Tabernacle

Not far from Chamonix in France, The Church of Notre-Dame De Toute Grâce du Plateau d'Assy stands in a beautiful situation on a mountain-side facing Mont Blanc. It was designed by the architect Maurice Novarina and was constructed in 1937-45.

In 1939, Père Marie-Alain Couturier, known as Father Couturier (November 15, 1897-February 9, 1954) and who was a Dominican friar, began twelve years ago of commissioning the best and most extreme moderns he could find to embellish the Church.

He brought together Braque, Matisse, Bonnard, Lurçat, Rouault, Léger, Bazaine, Chagall, Berçot, Briançon, and Richier.

In 1948, the Church and all its works were consecrated by the local bishop.

However in 1949, the local bishop ordered the crucifix to be removed. It had been subject to complaints.

The crucifix had no cross, but only a green bronze, faceless figure cast roughly in the shape of a cross. The sculptor, Germaine Richier, explained that "the cross has been taken with the suffering into the flesh, and its outlines can just be made out coming from the undersides of the arms. There is no face because God is the spirit and faceless."

A number of years later, it was allowed back in.

References:

Notre Dame de Toute Grace (Haute Savoie)
http://foto.telenet.be/7033935954

Images of the Church
http://www.astoft.co.uk/plateau-d

Eglise Notre-Dame De Toute Grâce
(Plateau d'Assy)
http://fabrice.blanc.cc/ballades/notre_dame/notre_dame.html

Georges Rouault


Georges Rouault (1871-1958)
Head of Christ, c. 1939
Oil on paper pasted on canvas
65 x 50 cm
Hermitage Museum, Saint Petersburg, Russia





Georges Rouault (1871-1958)
Christ, 1937-38





A "Modernist" (in the Art sense), Georges Rouault was preoccupied throughout his life with man's inhumanity to his fellow man.

He portrayed absolutes: the outcast and the saint, the sufferer and the redeemer.

The suffering of Christ was his frequent subject. His thickly encrusted, powerfully colored images, outlined heavily in black, have the effect of icons and a pattern suggestive of stained glass.

Rouault was unabashedly a religious man. "I hope to paint a Christ so moving that those who see Him will be converted," he said.

Rouault, had to wait until 1949 when he reached the age of eighty before seeing one of his works admitted to a church - a little church at Assy in France.

In September 1950, Pope Pius XII welcomed 300 artists and art authorities from 23 countries to a Rome conference on religious art. The Vatican had arranged a vast show of 1,400 religious art works produced in the past half century. Included were works by Georges Rouault.

References:

The works of Georges Rouault (French site)

Tuesday, April 03, 2007

The Art of Italy in London



Agnolo Bronzino
(1503-72)
Portrait of a lady in green,
c.1528-32
The Royal Collectn.
© 2007,
Her Majesty Queen Elizabeth II















Richard Dorment in The Telegraph reviews The Art of Italy in the Royal Collection at the Queen's Gallery, Buckingham Palace and marvels at the sheer breadth and quality of the paintings and drawings on view in the current exhibition.

"The story begins with Charles I, who caught the collecting bug early, on a visit to Madrid in 1623 to woo the King of Spain's Sister, the Infanta Maria Anna.

We can only imagine how dazzled the young English prince must have been when he saw the extent of Philip IV's vast collection, but it isn't hard to picture his delight when the king presented him with two masterpieces by Titian and one by Correggio. ...

The organisers have imposed a certain amount of coherency on the collection by organising the show by school - Florentine, Venetian, northern Italian and Bolognese - and by broadly dividing the display between the 16th and 17th centuries
. "

The exhibition is on until January 2008.

"Pietà" by Jean Fouquet


Jean Fouquet (c.1420 - c.1481)
Pietà c. 1445
Panel, 146 x 237 cm
Parish Church, Nouans-le-Fontaines


Jean Fouquet (c.1420 - c.1481) was the most important French painter of the 15th century. He was a master of both large-scale painting and manuscript illumination.


Jean Fouquet (c.1420 - c.1481)
Self-portrait 1450
Enameled copper
Musée du Louvre, Paris


He was formed in the tradition of International Gothic. However he took on board the innovative naturalist techniques of the Flemish school such as the van Eycks. He travelled to Italy and became familiar with the then new techniques of perspective of the Italian Florentine Renaissance pioneered by Masaccio, Paolo Uccello, and Filippo Lippi. He grafted the elements of the Tuscan style, which he had acquired during his stay in Italy, with the style of the Van Eycks, and thus became the founder of an important new school.

It was not until 1475 that Fouquet became Royal Painter (to Louis XI), but in the previous year he was asked to prepare designs for the king's tomb, and he must have been the leading court artist for many years under King Charles VII and his court.

In his depictions of people, he is realistic. In narrative, he is able to tell a story well.

As a minutiarist, his work is seen in fragments of the "Livre d'heures d'Etienne Chevalier" (1450-60), forty or so leaves of which survive.

His paintings were well thought out and planned beforehand. The image below illustrates Fouquets use of circles, the golden mean and regular polygons.

The Second Anniversary



Pope Benedict XVI marked the second anniversary of the death of Pope John Paul II during a special Mass in St. Peter's Square yesterday. Vatican Radio has a special report here (Real Media file)

Two years to the day after the death of Pope John Paul II, Church officials marked the closing of the first phase of his journey to beatification and sainthood.

Monday, April 02, 2007

"Descent from the Cross" by Rubens


RUBENS, Pieter Pauwel (b. 1577, Siegen, d. 1640, Antwerpen)
Descent from the Cross 

1612-14
Oil on panel, 421 x 311 cm (centre panel)
O.-L. Vrouwekathedraal, Antwerp



The centre panel of the great triptych shows the Descent from the Cross against a dark sky. Several men - Joseph of Arimathea, Nicodemus, St John and two servants - carefully lower the body of Christ in a brilliant white shroud. They are assisted by several women, including Jesus' mother. Christ's foot rests on the shoulder of Mary Magdalene, who dried his feet with her hair.

The "contract version" of the central panel can be seen in The Courtauld Institute Gallery (Somerset House) in London.

"Descent from the Cross" by Daniele da Volterra


Daniele da Volterra (originally Daniele Ricciarelli), (b. 1509, Volterra, d. 1566, Roma)
Deposition ( c. 1545)
Cappella Orsini in S. Trinità dei Monti, Rome



The first major commission of Daniele da Volterra came in 1541, when he was asked to decorate with frescoes the Cappella Orsini in the Trinità dei Monti in Rome.

There his most famous painting is located, the Descent from the Cross (circa 1545), after drawings by Michelangelo.

By an excess of praise the "Descent from the Cross", was at one time grouped with the "Transfiguration" of Raphael and the "Last Communion" of Domenichino, as the most famous pictures in Rome.

However the painting was influential in that many painters came to study and draw the painting. Included amongst them was Pieter Pauwel Rubens who was in Italy from 1600 to 1608. He knew the painting well during his stay in Rome.

The Descent from the Cross was a theme that Rubens explored in numerous compositions, creating some of his most powerful and dramatic works. His great triptych of The Descent from the Cross was painted in 1612/3 for the chapel of the guild of the Harquebusiers in Antwerp cathedral.

The influence of da Volterra`s work is evident in Rubens` compositions.

Luigi Cherubini


Basilica of St Denis

Luigi Cherubini (September 14, 1760 – March 15, 1842) was an Italian composer who spent most of his working life in France. Although his music is not well known today, it was greatly admired by many of his contemporaries. Beethoven considered him to be the greatest dramatic composer of his time.

The most significant part of Cherubini's work is his operas and sacred music

Cherubini’s Requiem in C minor, was premiered on January 21, 1817, in a memorial concert below the abbey church of St. Denis to commemorate the anniversary of the executions of Louis XVI and Marie Antoinette. The bodies of the long deposed monarchs had been searched for and found a few years earlier and were finally being laid to rest in the crypt of St. Denis.

The work was greatly admired by Beethoven, Schumann and Brahms.

Cherubini died in Paris at age 81 and was buried in Père Lachaise cemetery.

Saturday, March 31, 2007

Basilica of the Anastasis/Resurrection (Holy Sepulchre), Jerusalem

For images and history of the Basilica of the Anastasis/Resurrection (Holy Sepulchre) in Jerusalem, there are numerous websites.

However, Christus Rex (images and history) and Jerusalem shots (images) seem to be two of the better ones.

The Tomb



The Tomb in the Basilica of the Anastasis/Resurrection (Holy Sepulchre), Jerusalem